What's New in Re:Form: the 0.7 Alpha Release

Two releases have landed since the 0.6 series digest: 0.6.8, which was mostly about feel and finishing, and 0.7.0, which added the first real mesh-management tool. Disclosure that hardly needs saying on a changelog: Re:Form is our tool, and it is still alpha.

What version is Re:Form on right now?

Re:Form is on v0.7.1 Alpha as of August 2026. The 0.6.8 and 0.7.0 releases added Split loose parts, MP4 turntable video with a new 2048 px tier, a beauty render that no longer looks faceted or grainy, a steerable render preview with fixed output aspects, undoable object-mode transforms, and 22 written documentation guides. Alpha still means things move between releases.

What shipped in Re:Form 0.6.8 and 0.7.0?

Re:Form 0.6.8 was a feel-and-finish release: brush stroke interpolation became unconditional, the Smooth brush doubled its ceiling, the beauty render got true normals and a denoiser, and the render preview became a working viewport. Re:Form 0.7.0 added Split loose parts, .mp4 turntable export, persistent render settings, and a symmetry fix in the object-mode bake. Re:Form 0.7.1 followed with fixes to three detail brushes — Fissure, Pinch and Polish — that were not doing what their descriptions promised, plus a Fit view that centres properly and a Theme picker for the studio.

Everything below is on the Free plan except where the text says Pro.

Split loose: one layer becomes many

This is the headline of 0.7.0. Sculpts accumulate disconnected pieces — a scan with a stray shell, a remesh that pulled apart, a figure and its base built as one blob. Until now they were stuck together in a single layer.

Layers ▸ Split loose runs a union-find pass over the active layer's triangles and separates every disconnected piece into its own layer. The largest part keeps the original layer, along with its name, transform, pivot, and symmetry setting; the smaller parts inherit those and get their own. Mask and vertex paint are carried across per part, not flattened. One Ctrl+Z restores the whole pre-split set as a single step.

Two limits: it refuses on a fully connected mesh rather than silently doing nothing, and it caps at 64 parts, so a shattered scan will not spawn hundreds of layers.

If you sculpt for print, this is the tool that separates a figure from its base before export — see the miniatures workflow for where that fits in a tabletop pipeline. If layers are new to you, Sculpt Layers Explained covers the two different things the word means in sculpting apps, and the layers guide in the docs walks the panel itself.

Can Re:Form export a turntable as MP4?

Yes. As of Re:Form 0.7.0 Alpha, turntable renders mux to .mp4 with H.264 Constrained Baseline video wherever the browser can encode it, with VP8 in .webm as the fallback. A new 2048 px tier joins 512 and 1024, encoding at 48 Mbps. Turntable rendering is a Pro feature; the 512 and 1024 tiers encode exactly as they did before.

The reason for the change is boring and practical: WebM is a fine web format and a poor delivery format. MDN's own container guidance calls MP4 "the industry standard for video content, widely supported across devices and browsers," and recommends it as the single format to pick if you can only provide one. Dropping a .webm into an editor or a client folder usually means a conversion step first; an .mp4 usually does not.

The encode runs through the browser's WebCodecs API plus a small MP4 muxer written for this, so nothing leaves your machine to make the video. WebCodecs video encoding has been in Chrome since 94 and desktop Firefox since 130, and Safari has had VideoEncoder since 16.4 — as of August 2026, that is effectively every desktop browser that can run Re:Form at all.

The beauty render stopped looking faceted and grainy

Two separate bugs were making renders look worse than the viewport, and both were in the ambient-occlusion and key-shadow post pass.

The faceting: that pass reconstructed its normals from the depth buffer. Depth is planar across a triangle, so the AO hemisphere and the shadow shaping came out constant per facet — the render was painting flat shading over a smooth-shaded model. A normals pre-pass now draws the capture frame's geometry a second time, replayed from a per-frame draw log so even the LOD choice matches, and writes the true interpolated vertex normals for the post pass to read.

The grain: the AO taps and shadow cone used per-pixel hash noise with no denoiser behind it. Supersampling was the only suppression, which meant the 4096 px Pro output — clamped to 2× supersample by the VRAM guard — was the grainiest tier of all. There is now a depth-aware separable gaussian denoiser on the darkening pass, gated by view depth so silhouettes and crevices stay crisp. Turntables also feed the frame index in as a noise seed, so residual noise moves per frame and averages out over the spin instead of sitting glued to the screen.

A permanent rig (npm run test:render) now drives the real dialog on a real GPU and measures grain on the output. The controls themselves are documented in Render and turntables.

The render preview became a real viewport

Both render dialogs used to show a still preview and nothing else — wrong framing meant closing the dialog, moving the camera, and reopening it. The preview now takes the main viewport's camera controls: drag to orbit, Shift-drag or right-drag to pan, wheel to zoom, re-rendering continuously while you steer. The main viewport follows live, so the two can never disagree about what you are about to render.

A shared Aspect control picks the output shape. Viewport keeps the old inherit-the-window behavior; 1:1, 4:3, 3:4, 16:9 and 9:16 render at exactly that ratio at your chosen long edge — 16:9 at 1024 gives you exactly 1024×576, not a crop of something else. In 0.7.0 those choices, plus background and lighting, persist inside your .clay file and autosave, so reopening a sculpt restores the render setup you left it with.

Object mode finally respects Ctrl+Z

Leaving object mode bakes the gizmo transform into the vertices, and the code comment had promised for months that the bake captured an undo snapshot. On the GPU path it never did. The moment you returned to sculpt mode, your transform was permanent and Ctrl+Z ate your last sculpt stroke instead.

The bake now captures a real snapshot, so an entire object-mode session collapses into one Ctrl+Z step, in correct chronological order with your sculpt strokes. Undo entries can carry a companion record that restores what the engine cannot see on its own — the gizmo pivot and the symmetry frame — so undoing a transform puts symmetry back where it was too. Origin re-placements are recorded as their own steps while you are in object mode, so Ctrl+Z walks pivot moves and drags back in order.

Related, in 0.7.0: the GPU exit-bake now moves the symmetry frame the way the CPU path always did. Rotate a layer 90°, leave object mode, and symmetry follows the model instead of staying stuck to the world axes. The Grab and transforms guide covers the gizmo itself.

Two smaller viewport fixes came with it. The Frame button is now called Fit view (same action, same F shortcut), and it measures the region you can actually see — between the left tool rail, the right properties panel, the menu bar and the status bar — instead of centering on the raw canvas hidden underneath them. The axis guide also depth-tests now, so the lines visibly enter and exit the sculpt instead of always hiding behind it, and it hides entirely in Ortho views where it would just cut across your reference artwork.

What changed about how the brushes feel?

Re:Form 0.6.8 made stroke interpolation unconditional for every brush, raised the Smooth brush ceiling from 4 to 8 Laplacian passes per dab, gave the Grab brush its own cubic-smoothstep falloff, and made the Clay Ribbon Falloff slider widen the edge fade instead of only reshaping it. No brush needs a setting changed to get these — they are the new defaults.

The interpolation one matters most and was the least visible. A stroke lays dabs along its path; a fast stroke moves further between pointer events than the dab spacing allows for. There was a Smooth strokes toggle that controlled whether the gap got filled — and loading any older .clay file or autosave silently turned it off, because the field did not exist in those files and defaulted to false. So touching an old save quietly cost you interpolation on every brush, with nothing on screen to say so. The toggle and the fallback are both gone: every stroke brush always lays path-interpolated dabs, and stored flags in old files are ignored. Draw Sharp and Carve also tightened their default spacing from 0.12 to 0.08, because 0.6.7's hairline crest cannot bridge gaps the way the old wide flat crest did.

The Grab change is subtler. Every brush shared one falloff curve, a quintic that holds about 94% strength out to a fifth of the radius. That is right for a brush depositing material and wrong for one scaling a rigid translation — grab dragged its core as a slab with a visible shoulder ring around the pull. Grab now fades through a standard cubic smoothstep instead: same core and hardness model, same meaning for the Falloff slider, gentler peak slope, no plateau. Every other brush is bit-identical. Size, strength and falloff explains what the slider controls; if your surface is coming out bumpy, Why Your Sculpt Looks Lumpy is the better read.

Clay Ribbon's Falloff slider used to reshape the curve inside a fade band fixed at 18% of the strip's half-width, so the side walls stayed near-vertical at any setting and adjacent ribbons met in a hard step. The slider now sets the band's width itself: the default is still a clearly squared slab, but its shoulders blend into the neighboring ribbon, slider up returns the old crisp wall, slider down goes pillow-soft.

Two Options-panel controls went the other way. Accumulate and Clay feel are hidden for now: Accumulate is not wired on the GPU path at all, and Clay feel only does its settle pass on two brushes. They are hidden rather than deleted, and return when they do what their labels claim.

Fissure, Pinch and Polish got fixed

This is the 0.7.1 release. Three brushes were quietly not doing what their descriptions promised, and writing the documentation is what exposed them — screenshots of a brush's own stroke are unforgiving in a way that sculpting by feel is not.

Fissure 01 and 02 advertised a smooth, sharp V-cut and delivered a string of beads. Two causes, both structural. A stroke lays dabs at a fixed spacing along its path, and the full-depth flat core at the bottom of the V was narrower than the gap between consecutive dabs — so every dab left a scallop between itself and the next, at any brush size. Underneath that, the wall profile was a straight taper, which meets the flat floor and the surrounding surface at two hard slope breaks; a crease line at an arbitrary angle across a regular vertex grid cannot be represented cleanly, and adjacent rows alternate across it. That is what produced the beading, and it survived every attempt to fix the dab fusing because fusing was never the problem. The fix is all three: the default dab spacing dropped from 0.1 to 0.02 so the between-dab midpoint now sits deep inside the flat core, the walls became a quintic curve with zero slope at both ends so there are no crease lines to alias, and the floor's width now clamps to at least one-and-a-bit vertex rows using the local mesh density under the dab, so it stays representable on a coarse mesh. Measured across the cut, the depth ripple went from about 7% of the cut depth to about 1%.

Pinch was collapsing the thing it was supposed to tighten. Its pull was projected onto the tangent plane of the dab, which on any curved surface is a chord — so every vertex it moved was also pulled slightly into the body, and a full pass over a crease sank a shallow bowl over it. The pull now rides each vertex's own tangent plane, so material slides along the surface toward the stroke instead of into it, and the along-stroke component is dropped while the stroke is moving so marching dabs stop smearing the ridge. Run Crease and then Pinch along the same line and the fold tightens now, which is the entire point of the pairing.

Polish was two-sided: it pulled material below its reference plane up as well as shaving what sat above it, and a weight floor meant vertices far off the plane still moved. On a curved form that part-flattened the form itself toward the brush's chord plane — down in the middle, up in a ring at the rim, which is why polishing left a faint moat. It is strictly one-sided now, and its influence tapers to nothing at the edge of its band, so it shaves noise and leaves the form alone.

One brush went the other way: Inset is gone from the picker. It never found a job that Flatten, Trim or Scrape did not do better.

Separately, Fit view (F) now centres the model in the viewport you can actually see, between the tool rail and the settings panel, rather than in the middle of the window with a third of the model behind the panel.

0.7.1 also adds an Account menu to the studio menu bar — the signed-in address, the plan and its billing, the legal documents, and a Theme picker that re-tones the interface in one of six colours. The 3D viewport stays a neutral grey in every theme, so the sculpt reads true whichever you pick.

New spheres start with an even grid

The starting sphere is built by projecting a cube's face grids onto a sphere, which crowds cells toward the corners. Each face-grid axis now warps by equal angles before the projection, taking the worst corner cell from a 2.10:1 aspect down to 1.41:1. Same topology, same triangle count — only the starting positions move, so a more even mesh takes your first strokes. The box primitive keeps its uniform grid.

For how much of that triangle budget you actually need, How Many Polygons Do You Actually Need? works through it.

Where do I learn the tools now?

Re:Form has a documentation hub at /docs with 22 written guides as of August 2026, covering the studio tour, first strokes, viewport navigation, every brush family, size and falloff, symmetry and masking, layers, subdivision, remeshing, reference images, import and export, .clay files and autosave, vertex paint, rendering, printing prep, and system requirements. It replaced a placeholder page, and its screenshots are captured from the running app by a rig, not drawn. Good starting points: Set up your account, then Your first strokes, then Navigate the viewport. If you are heading toward a printer, Sculpt for 3D printing is the one to read before you export.

Does any of this change the plans?

No. Split loose, the render fixes, the brush changes, the new sphere grid and the docs are all on the Free plan, which is the full toolset up to roughly 12.5 million triangles with OBJ import and export, local .clay saves and autosave, no watermark and no card. It covers personal, non-commercial use.

Re:Form Pro is $9.99 a month or $99 a year and adds the full 50-million-triangle budget, STL/GLB/FBX import and export alongside OBJ, and a commercial license. Turntable rendering and the 4K still render remain Pro; the new 2048 px video tier sits inside that. Billing runs through Stripe and you cancel from the plan chip in the app.

One housekeeping change: the build now stamps the version number into the FAQ and the site's structured data straight from package.json, failing the build if the text ever drifts. The version you read on the site is the version that shipped.

Is Re:Form 0.7 stable enough to rely on?

Re:Form 0.7.0 is alpha software and should be treated that way. The brush regression rig runs 24 checks on a real GPU every release, and 0.7.0 added three more rigs — Split loose, render settings with a full 2048 turntable, and the symmetry bake — but alpha means features move, defaults change, and the Smooth strokes toggle you used last month may not exist this month.

What protects your work is unchanged: browser autosave while you sculpt, and .clay files you save to your own disk, which snapshot everything including layers. Re:Form still does the sculpting step and nothing else — no retopology, no UV unwrapping, no rigging, no texture painting beyond vertex paint. Blender and ZBrush are more mature and cover an entire pipeline; the Blender comparison lays out honestly where each one wins.

To see where 0.7 landed, open a sphere and push it around.

FAQ

Do I need to update anything to get Re:Form 0.7.0?

No. Re:Form runs in the browser, so refreshing the page is the entire update process — there is no installer, no patcher and no version to pick. The app footer shows the build you are actually running. Your browser autosave and any .clay files on your disk carry across releases, so a refresh costs you nothing in progress.

Will Split loose break a sculpt I already have?

No. Split loose only acts on the active layer, and it refuses outright on a mesh whose triangles are all connected — the common case for a sculpt grown from a single sphere. When it does split, the largest piece keeps the original layer with its name, transform, pivot and symmetry intact, masks and vertex paint come along per part, and a single Ctrl+Z puts everything back as one step.

Is the MP4 turntable available on the Free plan?

No. Turntable rendering is a Pro feature, and that includes the new .mp4 output and the 2048 px tier. Free covers the full sculpting toolset — every brush, layers, masking, symmetry, remeshing, OBJ in and out — but not turntable video. Pro is $9.99 a month or $99 a year, and the pricing page lists exactly what each plan carries.